This book provides a cross-cultural analysis of how religious symbols function from a theological and philosophical perspective. Showing how religious symbols can be true in various qualified senses, Neville presents a theory of religious symbolism in the American pragmatic tradition extending and elaborating Tillich's claim that religious symbols participate in the divine realities to which they refer and yet must be broken in order not to be idolatrous or demonic. The Truth of Broken Symbols offers a theory of religious symbolism treating reference, meaning, and interpretation, and discussing different functions of religious symbols in theological, practical, and devotional contexts. It shows that religious symbols are to be properly understood as true or false and that symbol-systems such as myths, theologies, or liturgical symbols are to be used to engage divine realities while internally exhibiting semiotic structures of reference, meaning, and interpretation.

In this groundbreaking book, Andrei Pop presents a lucid reassessment of those writers and artists in the late nineteenth century whose work merits the adjective “symbolist.” For Pop, this term denotes an art that is self-conscious about its modes of making meaning and he argues that these symbolist practices, which sought to provide more direct access to the viewer by constant revision of its material means of meaning-making (brushstrokes on a canvas, words on a page), are crucial to understanding the genesis of modern art. The symbolists saw art not as a social revolution, but a revolution in sense and in how we conceptualize the world. At the same time, the concerns of symbolist painters and poets were shared to a remarkable degree by theoretical scientists of the period, especially by mathematicians and logicians who were dissatisfied with the strict empiricism dominant in their disciplines, and which made shared knowledge seem unattainable. A crisis of sense made art and science look for conceptual foundations underlying the diverging subjective responses and perceptions of individuals. Unlike other studies of this period, Pop’s focus is not on how individual artists may have absorbed bits of scientific theories, but rather on the philosophical questions that were relevant to both domains. The problem of subjectivity in particular, of what in one’s experience can and cannot be shared, was crucial to the possibility of collaboration within science and to the communication of artistic innovation. Pop’s brilliant close readings of the literary and visual practices of Manet and Mallarmé, of drawings by Ernst Mach, William James and Wittgenstein, of experiments with color by Bracquemond and Van Gogh, and of the philosophical systems of Frege and Russell add up to a startling but coherent picture of the symbolist heritage of modernity and its consequences.

Theoretical Anthropology is a major contribution to the historical and critical study of the assumptions underlying the development of modern cultural anthropology. In the new introduction, Martin Bidney discusses the present state of anthropology and contrasts it with the scene surveyed in Theoretical Anthropology. He discusses the relevance of David Bidney's work to our present concerns. Also included in this work is the second edition's introductory essay by David Bidney, written fifteen years after the first edition of Theoretical Anthropology. Here the author examines his original aims in writing this book. Theoretical Anthropology has helped to create among anthropologists the present climate of theoretical self-awareness and broad humanistic concerns. It has become a standard reference work for anthropologists as well as sociologists.

"The main thrust of this book is to deliver a major critique of materialist and rationalist explanations of social and cultural forms, but the in the process Sahlins has given us a much stronger statement of the centrality of symbols in human affairs than have many of our 'practicing' symbolic anthropologists. He demonstrates that symbols enter all phases of social life: those which we tend to regard as strictly pragmatic, or based on concerns with material need or advantage, as well as those which we tend to view as purely symbolic, such as ideology, ritual, myth, moral codes, and the like. . . ."—Robert McKinley, Reviews in Anthropology

"The lectures contained in this volume were given for the University of Edinburgh on Lord Gifford's foundation in the years 1933 and 1934. I have delayed their publication in the hope that with process of time I might, by further reading and thought, be able to expand and modify them, so as to make them more worthy of presentation to the public in the form of a book. This hope has been so meagerly realized that it now seems best to let them go forth, with all their imperfections on their head, hardly at all altered from the form in which they were delivered." --From the preface

What kind of book is the Bible? Is it a rulebook or a guidebook for moral living? Is it a history book or a book filled with fascinating (and sometimes fantastic) stories? Did humans write the Bible or did God somehow speak a perfect message that the authors transcribed? Many people have asked these questions about the nature of this beautiful, odd, comforting, disturbing book the church calls its “Holy Scripture.” Charlotte Vaughan Coyle shares her own journey to make sense of the Bible in this read-through-the-Bible-in-a-year project. She discovered that the crucial work of asking hard questions and even arguing with the Bible revealed the Scriptures to be a symphony of polyphonic voices, a work of art that paints an alternative vision of reality, a complex novel-like story unavoidably embedded in its own culture and time, and yet able to give witness to the God beyond history who has acted (and continues to act) within history. With the heart of a pastor and the passion of a preacher, Rev. Coyle invites seekers and students (both churched and un-churched) to strap on their scuba gear and join her for a deeper dive beneath the surface of this immense, colorful, mysterious world of the Bible.